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2024-05-21
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Spektral Quartet Feinberg Doyle Armbrust Jacobs Freund Debussy 2021
". . . and Night was the Universe." for String Quartet Written for the Spektral Quartet Maeve Feinberg, Violin I Clara Lyon, Violin II Doyle Armbrust, Viola Russell Rolen, Cello Live recording of the Spektral Quartet recital at the 2021 IU Jacobs School of Music Composition Department 48 Hours project, following 25 minutes of rehearsal. Special thanks to the Spektral Quartet, Professor Aaron Travers, Professor David Dzubay, and Professor Don Freund for helping me compose this piece Special(er) thanks to the Jacobs School of Music and the anonymous donor for funding this awesome collaboration! ". . . and Night was the Universe." was written as a part of the 48 Hour Collaboration Event with the Spekral Quartet in November 2021 at the Jacobs School of Music at Indiana University. The Spektral Quartet provided a prompt at noon on Friday, 11/5/21, and the finished pieces were then due at noon on Sunday, 11/7/21. The quartet then had around 4 hours to learn each composers' piece (around 7 or 8 whole pieces) and then premiere them later that Sunday evening. I have been a big fan of the Spektral Quartet for several years, so it has been such an amazing opportunity to get a chance to work with them. Their prompt for this event was: "What does the night mean to you?" The quartet also asked us composers to hide the first three notes of Debussy's "Clair de Lune" somewhere in the piece. With this prompt, I immediately thought of a nighttime journey, where one goes from stillness to danger before finally arriving at beauty and stillness again. I hope to capture the feeling of 'looking up' when the stars are out and the enveloping sense of expansiveness in the darkness. The title comes from a quote from Edgar Allan Poe's The Pit and the Pendulum, which follows a somewhat similar journey. The full quote is "Then silence, and stillness, and night were the universe." These words were all I could think about when looking at the stars and experiencing night. Secondly, I thought of what night means to the world around me as a musician and student. Nighttime gives people to courage to be strange in a way that they would not be comfortable with in the daytime. The night is a chance to explore things out of the ordinary, and I decided to channel that in my music. Extended techniques and microtones are severely out of my comfort zone as a composer, but I knew this collaboration with the Spektral Quartet would be a good space to experiment with different sounds. For more information, visit LukeHenryMusic.com
Prokofiev Frederick Stock Serge Koussevitzky Samuil Feinberg Konstantin Saradzhev Chicago Symphony Orchestra 1828 1913 1916 1921 1922 1925
S. Prokofiev — Piano Concerto N. 3 in C major, Op. 26 Prokofiev began his work on the concerto as early as 1913 when he wrote a theme with variations which he then set aside. Although he revisited the sketches in 1916–17, he did not fully devote himself to the project until 1921 when he was spending the summer in Brittany. Prokofiev himself played the solo part at the premiere on 16 December 1921 in Chicago with the Chicago Symphony Orchestra conducted by Frederick Stock. The work did not gain immediate popularity and had to wait until 1922 to be confirmed in the 20th century canon, after Serge Koussevitzky conducted a lavishly praised performance in Paris. The first Soviet performance was on 22 March 1925, by Samuil Feinberg, with the Orchestra of the Theatre of the Revolution under Konstantin Saradzhev. 00:00 — Andante 08:56 — Andantino 18:28 — Allegro, ma non troppo #piano #concerto #prokofiev
Prokofiev Frederick Stock Serge Koussevitzky Samuil Feinberg Konstantin Saradzhev Chicago Symphony Orchestra 1913 1916 1921 1922 1925
Prokofiev began his work on the concerto as early as 1913 when he wrote a theme with variations which he then set aside. Although he revisited the sketches in 1916–17, he did not fully devote himself to the project until 1921 when he was spending the summer in Brittany. Prokofiev himself played the solo part at the premiere on 16 December 1921 in Chicago with the Chicago Symphony Orchestra conducted by Frederick Stock. The work did not gain immediate popularity and had to wait until 1922 to be confirmed in the 20th century canon, after Serge Koussevitzky conducted a lavishly praised performance in Paris. The first Soviet performance was on 22 March 1925, by Samuil Feinberg, with the Orchestra of the Theatre of the Revolution under Konstantin Saradzhev.[The concerto consists of three movements of roughly equal length which last just under 30 minutes in total. I. Andante – Allegro II. Tema con variazioni (in E minor) III. Allegro, ma non troppo Of the five piano concertos written by Prokofiev, the third piano concerto has garnered the greatest popularity and critical acclaim.] The concerto radiates a crisp vitality that testifies to Prokofiev's inventive prowess in punctuating lyrical passages with witty dissonances, while maintaining a balanced partnership between the soloist and orchestra. Unlike the examples of piano concertos set by many of Prokofiev's Romantic forebears, the orchestra rises above subsidiary accompaniment to play a very active part in this work
Liu Shih Kun Emil Gilels Tchaikovsky Van Cliburn Samuil Feinberg Kun 1958 2013
A short video from the 1958 Tchaikovsky Competition of Emil Gilels embracing the first and second place winners (Van Cliburn, Lev Vlassenko and Liu Shikun), and Liu Shikun playing a part of the Tchaikovsky PC 1. Liu Shikun studied with Samuil Feinberg / "The first time I met Feinberg, he asked me if I played various pieces and I answered no to each one he named. 'You play nothing,' he sighed". During the Cultural Revolution Liu Shikun was in prison for 6 years. A WSJ interview from 2013 recounts the time: (http•••) Liu Shih Kun
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